WHAT CAN A DIGITAL ART CURRICULUM OFFER STUDENTS WITH EXCEPTIONAL

NEEDS?

By

SARA CONWAY GURNEY

A CAPSTONE PROJECT PROPOSAL PRESENTED TO THE COLLEGE OF THE ARTS OF

THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF MASTER OF ARTS

UNIVERSITY OF FLORIDA
2015

Updated April 22, 2015

Summary of Capstone Project

Presented to the College of the Arts of the University of Florida
In Partial Fulfillment of the Requirements for the
Degree of Master of Arts

WHAT CAN A DIGITAL ART CURRICULUM OFFER ESE STUDENTS?

By

Sara Conway Gurney

December 2015

Chair: Craig Roland

Member: Michelle Tillander
Major: Art Education

Abstract
I teach art, kindergarten through fifth grade in a school district in Florida, where we employ three
full Emotional Behavioral Disorder (EBD) classes. EBD students are considered a subsection of
Exceptional Student Education (ESE). The class sizes range from five to twelve students with
several students mainstreaming into normative classes at any given time. The elementary school
where I teach is considered somewhat of an epicenter for EBD classes in our district. My district
also supplies a traveling iPad lab for visual art teachers who are willing to attend trainings in
utilizing them. I would like to develop a digital art curriculum for my ESE students that would
maximize meaningful learning experiences by targeting specific skills and behaviors for each
student. I will utilize the iPads to create lesson plans that focus on art skills, engagement,
motivation, problem-solving skills, etc. I will conduct my study by designing the digital art
curriculum to target skills and behaviors that are most important for each student, using
Backwards Design (Wiggins & McTighe, 2005). I will ask art teachers who utilize digital media
in their classrooms to provide me with feedback on the curriculum. I will ask classroom teachers
to provide me with feedback on the most important behaviors to target in the lessons. I will also
provide a pre and post survey for students to input their interests into the curriculum and reflect
on the efficacy of the unit. Finally, I will implement the curriculum with my students while
collaborating with their classroom teachers, and I will take observational field notes to better
inform the curriculum. I will post my curriculum on my professional website so other teachers
may benefit from its use.

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Table of Contents
Title Page

UF Summary Page
Abstract

Table of Contents
Introduction

Statement of the Problem

Purpose of the Study 7

Research Question

Assumptions of the Study

Definition of Terms

10

Study Limitations

10

Literature Review

10

Methodology 17
Subject Selection, Site, and Description
Research Methodology

18

Data Collection Procedures

19

18

5
Data Analysis 20
Limitations

21

Summary/Reflections 21
References

23

Author Biography
Timeline

29

28

6
Wow, Emma has been focused on her art for a long time today! My realization came to
me when I noticed that it was almost time to clean up at the end of art class. There she was,
sitting with her iPad, glazing a digital ceramic vase. Emma is in Kindergarten and is considered
to be an ESE student, more specifically, an Emotional Behavioral Disorder (EBD) student. From
the beginning of the year until my traveling iPad lab arrived, she consistently had difficulty
staying in her seat and keeping focused on her work. Occasionally she had violent outbursts, and
required that an aid be with her at all times. She had been suspended several times this year due
to her behavior. Prior to the arrival of the art iPad lab, she was unable to complete a single
assignment in my class. Once the art iPad curriculum commenced, she surprised us all with her
capabilities.
Not only did Emma exhibit better behavior, she was also able to complete projects with
less help from the aid and myself. I discovered that she was quite talented in art. She also seemed
more motivated to have good behavior because if she didnt, her iPad would be taken away. The
motivation seems intrinsic to her when the iPad lab was available. Her problem solving skills
were also improved; she was willing to discover steps to remove pop-ups that appeared on her
screen before asking for help.
Emma wasnt the only EBD student who displayed these improved behaviors during the
course of the digital iPad curriculum. Many other EBD students showed increased engagement,
problem-solving abilities, and motivation. I also noted progression of art skills, techniques, and
vocabulary use during the digital unit.
Statement of the Problem
Students with exceptions often face challenges from exceptionalities that prevent them
from being able to learn in a general education setting. While there have been great strides in
Exceptional Student Education throughout the past decades, unfortunately students with
exceptional needs still drop out of high school at twice the rate of students without

7
exceptionalities and enroll in higher education 50% less than students without exceptionalities
(Guay, 2014). I believe digital art education can offer a unique platform for learning, which may
benefit unique learners such as ESE students.
Goals of the Study
My Capstone research will be comprised of ideas surrounding the experience above.
Students who are considered Exceptional Student Education (ESE) can often be a challenge for
the teacher because they may learn differently from general education students. Through
discussing ESE students with other art teachers in my district at ESE teacher workshops, I have
discovered that many art teachers find it challenging to teach ESE students because of the time
constraints of a weekly art class, no collaboration with ESE classroom teacher or information of
student disabilities, miscommunications with para-professionals or aids who may stay with
students during art, behavior issues, etc. My goal is to develop a digital art curriculum that
benefits ESE students, and gives them a platform to discover art education through targeting
individual learning needs.
I will create the curriculum using Backwards Design (Wiggins & McTighe,
2005). This sequence of design will ensure that I target skills and behaviors
first, then design a curriculum that scaffolds students to the desired
outcome. I will collaborate with ESE classroom teachers to target specific
skills, and I will request feedback from other digital art teachers to modify my
curriculum. I will also give students a pre/post survey to ask for interests and
check for understanding of skills. I believe the collaboration with other
teachers will help to inform the skills and behaviors that should be targeted
for increased student success.
After the curriculum has been designed and modified, I will begin the
fall school semester by obtaining Institutional Review Board consent forms

8
from my ESE students and teachers who wish to participate in the study.
Then I will implement the curriculum while taking observational notes on
behaviors and skills targeted. After the five-week curriculum program is
finished, I will give a post survey to check for understanding/compare to pre
survey, and will ask for feedback on behaviors from ESE classroom teachers.
I believe this process will facilitate my understanding of the efficacy of the
unit.
Research Questions
To guide my research I have prepared a list of questions that are essential to the
curriculum design. They are:
1. How can I design lesson plans to target specific skills and behaviors?
2. How can I measure efficacy?
3. What skills and behaviors will be most beneficial to target amongst
students in the study?
These questions will be answered by various means throughout my
study, including pre and post student survey. Some researchable questions
that I will answer throughout my study are: Will the targeted skills and
behaviors be affected during the study? Will any behavior changes also be
evident in the students regular classroom? I will collaborate with classroom
teachers, along with take observational field notes to gather relevant
information regarding these questions.
Rationale and Significance of the Study
I believe that ESE students can present unique challenges for all art educators. Personally,
I have struggled with creating a meaningful and successful program for my ESE students, and
have been told by other art teachers that they too have struggled with ESE students. Art
educators are sometimes given an entire class period for an EBD unit, but many EBD students in
my district are mainstreamed into general education classes. This presents obstacles for ESE

9
students and art educators to generate successful learning. Time constraints, miscommunications,
behaviors, etc. can get in the way of learning very easily in these situations.
I have always been passionate about challenging students in my classroom because I
believe that every child should be given the opportunity to learn in a way that best benefits them,
especially if they are unique learners. Unfortunately, schools and teachers are not always
prepared for each students learning styles, and as a result students can become disheartened with
their school experience. From my observations, I have found that the iPad lab I employ in my
classroom helps to even the playing field for challenging students. I believe that art, and more
specifically, digital art is one of the best platforms to provide ESE students with meaningful
learning. I believe this study is needed to shed light on a better equality of art education for
students with exceptionalities. I hope to provide a contemporary curriculum that can be shared
with other teachers to better serve students and teachers. I am very much looking forward to
implementing my study and discovering possible solutions for the challenge of teaching student
with exceptions.
Assumptions
I assume that the results of my observations and the surveys of my
study will show that students will be enabled to learn more effectively
because I will individually target skills and behaviors for each class. I do not
believe that many art teachers have time to create curriculum based on each
ESE class, and therefore they end up using curriculum that has been
designed for general education classes. This may not always be the best
curriculum for students who may have a difficult time learning in the same
ways as other students.
Definition of Terms

10
ESE- refers to Exceptional Student Education (Florida House of Representatives, 2010,
p. 94).
EBD- refers to Emotional Behavioral Disorder (Hunter & Johns, 2014, p.43).
IEP- refers to Individual Education Program (Hunter & Johns, 2014, p.45).
Limitations of the Study
I believe that my study will be beneficial to art teachers who teach ESE
students, and even ESE classroom teachers as well. Some limitations that I
find are the differences in learning for each student at many different
schools. Many of the ESE students I teach are considered EBD students, and
exhibit similar emotional/behavior disorders. My curriculum may not be as
successful for students who have behaviors that I will not be targeting. Also, I
do not have planning time with classroom ESE teachers built into the
schedule so collaboration will be limited. I will also be implementing my
curriculum during a five-week time span, which is a bit short for expecting
changes in behavior. Another limitation includes the fast paced evolution of
technology, which establishes a statute of limitations for the relevance of the
technology in my study. Lastly, this study will not benefit teachers who do
not have access to digital technology.
Literature Review
Student exceptionalities can include a wide variety of characteristics that affect the
learning of many students. Exceptional Student Education (ESE) is the design of curriculum that
meets the needs of individual students with exceptionalities (Florida House of Representatives,
2010). Art education can be a powerful platform for these students to learn, as it can offer
students a new approach for expression, skill practice, and acquiring knowledge. Digital

11
technology education can be beneficial for all students, but can be especially advantageous for
ESE students for a multitude of reasons that I will discuss further throughout this proposal. The
literature discussed provides support for the integration of a digital art curriculum for ESE
students. While ESE students can have a wide range of challenges that affect learning, a digital
art curriculum can provide innovation assistance and possible solutions for such challenges.
The Civil Rights racial equality movement of the 1960s paved the way for the
progression of rights for people with disabilities in the United States. Prior to Civil Rights, it was
commonly thought that ESE (Exceptional Student Education) students might not possess the
ability to learn (Burnette & Lokerson, 2014). These negative beliefs of ESE students resulted in
the maltreatment of students with special needs in America before the 1960s. Following Civil
Rights, the gradual change in attitudes and opinions brought on by the Civil Rights Movement
allowed Americans with disabilities to obtain legal rights regarding equality as American
citizens, employees, and students (Burnette & Lokerson, 2014).
Burnette and Lokerson (2014) assert the beginning of these legal rights and laws included
the 1990 Americans with Disabilities Act (ADA), which specifically protected elementary,
secondary, and postsecondary students from discrimination (p. 17). This was the beginning of
several laws, which specifically pertain to the educational rights of students with exceptional
needs.
Also in 1990, the Individuals with Disabilities Education Act (IDEA) was reauthorized to
provide students with disabilities an earlier intervention time frame and also increased access to
technology. Originally enacted in 1975, IDEA was reauthorized again in 2004 to modify IEP
(Individual Education Program) procedures, special education teacher credentials, support parent
involvement, etc. (Burnette & Lokerson, 2014). Reauthorizations of these acts are a continuous
process to ensure up-to-date educational standards for students with disabilities.

12
In 2001, the No Child Left Behind Act (NCLB) was designed to hold states, schools,
and districts accountable for the academic achievement of all students. (Burnette & Lokerson,
2014, p. 21). These acts demonstrate a continual hope for improvement in the field of special
education, and also dictate the quality of education that should be provided for ESE students in
America.
I have noted these legal acts as a precursor to the current big ideas in special education in
American schools. This historical account of the legal path that special education has taken
throughout the last few decades brings us to my next concept that has long-since been noted by
educators professionals, and lead figures throughout history: the role of art in special education.
The nature of art education lends itself to the learning of concepts from different approaches than
the academic classroom. Art education allows for creative learning opportunities that can be
beneficial especially for students with exceptionalities.
Another key idea in the literature discuss is the use of technology in art education as an
innovative tool for learning and creating, As mentioned previously in the 1990 reauthorized
version of IDEA, technology can be an integral tool in the field of special education. Technology
can provide unique assistance and potential for all students, but can hold special possibilities for
students with disabilities. I believe there is a natural connection between special education and
digital art education.
In this literature review I will discuss the three key ideas previously mentioned:

the role of art in special education;

the opportunities provided by digital technologies in art education; and
the blending of these two ideas resulting in the potential of a digital art curriculum for ESE
students.
Key Terms
According to the Florida House of Representatives Education Fact Sheet (2010),
Exceptional Student Education (ESE) refers to specially designed instruction and related

13
services that are provided to students with disabilities and students who are identified as gifted.
(p. 94). Students can be referred for an ESE evaluation by a teacher or parent after a problem
solving/response to intervention (PS/RtI) method has been put in place, and determined to be
ineffective (Florida House of Representatives, 2010).
Another important term I discuss is that of a students Individual Education Plan (IEP).
The IEP is paramount for teachers and parents alike to gain individual information of a students
accommodations, measurable goals, program modifications, behavioral interventions, related
services, settings, and frequency/duration of services (Lokerson & Joynes, 2014). The
importance of the IEP cannot be overstated. An IEP can provide enormous amounts information
that can benefit teachers and students alike.
In this literature review, I will also discuss a particular segment of ESE students denoted
as EBD (Emotional Behavioral Disorder) students (Hunter & Johns, 2014). I currently teach
three EBD units at Seminole Elementary School, and these students will be paramount to my
study involving digital art curriculum and ESE students.
Synthesis and Summary-Art and Special Education
The role of art in special education can be powerful. Contemporary art education can
provide multiple ways for students to understand and communicate their environment. In an
inclusive art class (that blends general classes with special needs students), lower-level
functioning students can achieve similar results as students who are at a higher skill level (Guay,
2014). With this in mind, we can deduce that the art classroom can provide an equal platform for
all learners. In many cases, different types of learners can inform one another during inclusive art
classes.
While an equal platform is a large factor in the beginning of student success, there are
also other major factors that contribute, especially concerning students with special needs.
Gerber (2014) describes the importance of troubleshooting all aspects of the lesson to enhance
the experience of special learners and encourage special needs students to use their own creative

14
ideas and make their own creative decisions (p. 38). She discusses issues such as organization
of materials, seating, vocabulary, task analysis, and sequence of events when creating an openended lesson to enhance personal decision-making (Gerber, 2014). The design of curriculum and
planning involved is an integral process to creating successful lessons, which create an equal
platform for student achievement.
Building collaborative partnerships are also an integral part of student success. Arts
teachers do not usually have time planned in their schedule to collaborate with classroom
teachers, yet this collaboration can provide for a much more meaningful education for students.
When teachers can share knowledge, accommodations, and supplements for individual students,
then an enriched, collaborative curriculum can be created (Gerber & Fedorenko, 2014). Where
there is collaboration, there can also be integration of ideas to formulate innovative education
plans for students. Teacher collaboration is one of the most important issues that is often
overlooked in schools.
When collaboration and curriculum design are integrated, an integral factor to consider is
that of the student Individual Education Plan (IEP). Gair (1980) discusses the importance of
writing art into students IEPs stating, the arts are structured disciplines that can make a childs
mind and emotions reach far beyond a handicap; and finally because for some children the arts
are the best or only way they are able to learn (p. 8). The importance of art in the IEP of certain
students can ensure that the student receives the best education possible. Far too often, art
teachers are not provided with their students IEPs, much less asked to be an integral part of
formulating it.
Synthesis and Summary-Digital Art and Special Education
Digital technology is changing the culture of the world, and consequently the way that
educators teach. Current technologies often shape creative expression, which is of the utmost
importance to art education (Delacruz, 2009). This technological shift in our evolution informs

15
the way that we should be implementing curriculum. Sadly, tech-savvy art teachers are not
among the majority of educators. Delacruz (2009) asserts, two of the most striking aspects of
the electronic revolution are that that kids are leading the way and that schools are lagging
behind (p. 14). Art educators should be aligning curriculum with the current standards of culture
and technologies, especially for exceptional learners.
Fuglestad, an art teacher with a digital curriculum shares insights and sample lessons on
her website and blog. She expresses the importance of twenty-first century students to be able to
digitally create. She offers specific abilities that the iPad can offer art students while creating
such as zoom, undo, work with layers, etc. (Fuglestad, 2012). These capabilities can be
especially important for students with exceptionalities. The potential of the uses for educational
uses is vast.
Problem solving skills are often issues Emotional Behavioral Disability (EBD) students.
Frustration occurs easily when problems arise. Digital curriculum can offer a unique interest in
problem solving skills for students with such challenges. Russell (1986) discusses a special
education teacher whose student often comes to her to ask whether math problems are correct,
and get easily frustrated with problem-solving skills. The teacher notes that when this student
uses his computer, an error message frequently pops up, yet the student readily works out the
problem on his own with little frustration or request for help (Russell, 1986).
Lastly, another ability that a digital curriculum can offer education is that of an easily
adaptable and modifiable material bank, which is especially helpful for teachers of exceptional
students (Hurley, 1986). The many different applications that digital curriculum can provide can
be modified to accommodate specific learners. Students with tactile challenges can easily sculpt
clay digitally rather than use clay, which may offend their tactile senses. Students with physical
challenges may find that digital painting may offer an undo button, which can easily correct
unintended movements. The possibilities of modifications are vast.

16
Implications
Hasselbring and Glasser (2000) give some insight to the significance of providing special
education students with innovative curriculum. They posit, today, approximately one of six
students in schools across the United States cannot benefit fully from a traditional education
program because they have a disability that impairs their ability to participate in classroom
activities (p. 103). It should be the goal of educators to provide a meaningful education for all
students. With a rising number of students who cannot learn in traditional ways, we must change
the ways in which we design and deliver instruction to meet the needs of all students.
I believe it is the charge of the art educator to provide innovative ways in which we
design and deliver instruction to enhance success for all students, especially those who have
exceptionalities. I plan to design a digital art curriculum that targets specific behaviors and
characteristics, and accommodates specific ESE students. I believe that a digital art curriculum is
one of the best platforms I can provide for my students to ensure success and meaningful art
education that is geared specifically for my students.
The literature discussed has informed my study by allowing me to focus on the key
factors that will enhance learning for ESE students in art. I will collaborate with other digital art
teachers and classroom teachers. I will study, if not add to the IEPs of my specific students. I
will target specific areas, with digital programs and modifications for each student to enhance
success. I will design open-ended lessons that support independent and creative decision-making,
and troubleshoot for potential issues that may decrease meaningful learning.
I believe that during my study, I will be able to identify more positive outcomes that a
digital art curriculum can provide for ESE students. While there are plenty of studies on the
positive effects of art on ESE students, and the positive effects of technology in art education, the
potential for a digital art curriculum is a topic that currently has not been fully realized. I hope to

17
study more on this topic, and provide insights to the possibilities of what a digital art curriculum
can offer ESE students.
Methodology
My capstone research study will commence using a variety of research methods including
curriculum research and development, survey, and observational field notes. Primarily, I will be
developing (and receive feedback before and during implementation) a curriculum that focuses
on the effects of using a digital art curriculum for the elementary students with exceptions that I
teach. I will request each student in these units volunteer to participate along with their
classroom teachers for the five to six week duration of the study. My research questions are:

How can I design lesson plans to target specific skills and behaviors?
How can I measure efficacy?
What skills and behaviors will be most beneficial to target amongst students in the study?

Subjects
The study group I will use will be comprised of three EBD units, which I currently teach.
The class sizes range from three to ten students in each unit. The units are split into grades
Kindergarten through first grade; second grade through third grade; and fourth grade through
fifth grade. At any given time, the students may come to art with their ESE class, or with
normative grade level, which they are occasionally mainstreaming into. I will request that
approximately 15-20 students volunteer to participate in the study, and three classroom teachers.
Research Site
I am an art educator at an elementary school in Florida that has over 630 students
enrolled in it. The school is located in a small city west Florida, and its somewhat of an epicenter
for Emotional Behavioral Disability (EBD) classes. The school offers three full EBD units for
any grade level of elementary student. We are a National School of Character, and boast a B

18
school grade level. My research interests surround the question: What can a digital art
curriculum offer students with exceptional needs? I believe that through digital art education and
Backwards Design curriculum, an art educator can modify curriculum to target skills and
behaviors to better support learning for ESE students. Some examples of goals I wish to target in
the unit include grade appropriate art skills, problem solving, and motivation to learn.
Data Collection Procedures and Instrumentation
I will be conducting curriculum research and development to create digital art lessons
through the use of Backwards Design. I will collaborate with other digital art and ESE teachers
to create the curriculum, and target specific skills and behavioral goals. I will use Backwards
design to target these goals and work backwards from the objective using essential questions and
overarching ideas (Wiggins & McTighe, 2005). The main ideas involved in Backwards Design
are:

Identify desired results

Determine acceptable evidence
Plan learning experiences and instruction (Wiggins & McTighe, 2005, p. 8).

I will apply for permission from the University of Florida Institution Review Board to
implement the study, and if approved will verbally request students volunteer to participate in the
study and have students parents, and teachers involved sign consent forms for volunteer
participation (see Appendix A, B, C, and D). Then, I will implement the curriculum using a
travelling iPad lab that I have signed up for, during a five-week time span. I will collect pre and
post surveys from the students and take observational field notes as my program evaluation to
determine the efficacy of the unit.
During this beginning stage, dialogue with the ESE classroom teachers will be very
helpful along with a set of questions that each ESE teacher will be asked to answer before and

19
after the curriculum is implemented for comparison. Harrison (2011) suggests some helpful
questions to ask including, Is there evidence of improvement or decline If so, what might have
caused the changes?, What questions do these data raise?, Are these results consistent with other
achievement data?, Are there alternative explanations for these results?, By what criteria are we
evaluating student work? (para 5). I will also ask other digital art teachers to provide me with
feedback on the curriculum that I will design in order to better equip the unit for implementation.
Then I will ask the ESE students involved in the study to complete a survey/questionnaire
about the content they already know, and give them a chance to provide me with digital art
content they are interested in studying with the iPads. Using my research and feedback from
teachers and students, I will modify the curriculum and essential questions that will shape the
lessons. Throughout the unit, I will take direct observational notes, recording the instances that
targeted behaviors and skills occur or do not occur.
Data Analysis Procedures
I will analyze the data that I collect by comparing pre and post survey/questionnaires and
feedback from teachers. I will also compare frequency of targeted behaviors and use of skills in
my observational field notes from the beginning of the study to the end of the study. Sells and
Ellis (1951) discuss the value of direct recording of student behavior, noting that it creates
quantitative data for analysis (p.432). I believe the observational field notes and
survey/questionnaires will provide me with the most quantifiable data that can be analyzed per
the goal of the lesson.
I will also apprise the classroom ESE teachers of my research. I will ask them to provide
any and all feedback on the efficacy of the unit. I will continually ask them for feedback
concerning the targeted skills and behaviors, along with any observations they have made that

20
might relate to the study. I will compare their observations with that of my own throughout the
study.
Limitations
Some limitations in my research methodology include the time constraints of the study,
which can only amount to about five to seven week maximum of curriculum implementation.
Each class will have lesson duration of forty minutes during the weekly scheduled class. It will
be challenging to make behavioral or skill change during such a short period of time. Also, I will
be working with students who have many exceptions, but are all classified as Emotional
Behavioral Disorder (EBD). This study will not be able to address students who have
exceptionalities that differ from the students in the case study. Lastly, the technology that I will
use for the study involves the use of iPads. This study would only beneficial to art teachers who
have access to such technology. While some art teachers may have access to iPads for their
students, the curriculum and findings for my study will be subject to the element of time, and
will eventually become irrelevant or obsolete as technology evolves.
Summary
My main objective through my capstone research is to develop a digital art curriculum
that greatly benefits ESE students. I believe that digital art education can be a phenomenal
platform for ESE students to learn authentically via curriculum that is tailored for their specific
capabilities. I expect that the data I collect during this study will support the effects of a digital
art curriculum for students with exceptionalities. I also expect that the study will show positive
comparison of results from the targeted skills and behaviors of the lessons through the surveys,
observational field notes, and feedback from classroom teachers. Finally, I expect the feedback

21
from other digital art teachers, classroom teachers, and the analysis of my data will validate the
efficacy of the curriculum.

22
References
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Guay, D. M. (Eds.), Reaching and teaching students with special needs through art (pp.
15-25). Reston, VA: National Art Education Association.
Delacruz, E. M. (2009). Mapping the terrain: Globalization, art, and education. In E. Delacruz,
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Reston, VA: National Art Education Association.
Delacruz, E. M. (2009). Art education in the age of new media: Toward a global civil society. Art
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23
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Sells, S. B. & Ellis, R. W. (1951). Observational procedures used in research: Review of
education research. Methods of Research and Appraisal in Education, 21(5), p.432449.American Educational Research Association.
Wiggins, G. & J. McTighe (2005). Backward design. In G. Wiggins and J. McTighe,
Understanding by design (pp. 1-34). Alexandria, VA: ASCD

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Appendix A: Adult Informed Consent
Informed Consent
Protocol Title:
What Can A Digital Art Curriculum Offer Students With Exceptional Needs?
Please read this consent document carefully before you decide to participate in this study.
Purpose of the research study
The purpose of this study is to examine the effects of a digital art curriculum for students with
exceptional needs, using iPads during art class.
What you will be asked to do in the study?
Following a brief explanation of the study, you will be asked to volunteer to give feedback on the
behavior of students in your class. You will then be asked to give feedback periodically
throughout the 5-7 week curriculum. Following the curriculum you will be asked to give final
thoughts on the efficacy of the unit of study.
Time required
5-7 weeks (periodically).
Risks and Benefits
We do not anticipate that you will benefit directly by participating in this experiment.
Compensation
There will be no compensation for participating in this research.
Confidentiality
Your identity will be kept confidential to the extent provided by law. All participants involved in
the study will be given pseudonyms for all recorded documents. Your name will not be used in
any report.
Voluntary participation
Your participation in this study is completely voluntary. There is no penalty for not participating.
Right to withdraw from the study

25
You have the right to withdraw from the study at anytime without consequence.
Who to contact if you have questions about the study?
Craig Roland, ED.D. Assistant SA+AH Director, Director of Online MA Program in Art
Education, 101 Fine Arts Building, C PO Box 115801 Gainesville, FL 32611-5801, Office:
352.392.9165, Fax: 352.392.8453
Who to contact about your rights as a research participant in the study
IRB02 Office
Box 112250
University of Florida
Gainesville, FL 32611-2250
392-0433
Agreement
I have read the procedure described above. I voluntarily agree to participate in the
procedure and I have received a copy of this description.
Participant: ___________________________________________ Date: _________________
Principal Investigator: ___________________________________ Date: _________________

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Appendix B: Parental Informed Consent
Dear Parent/Guardian,
I am a graduate student in the Department of The Arts at the University of Florida, conducting
research on the effects of a digital art curriculum for students with exceptional needs under the
supervision of Dr. Craig Roland. The purpose of this study is to evaluate the use of a digital art
curriculum during instruction of students with exceptional needs. The results of the study may
help art teachers better understand successful ways to incorporate digital technology with
exceptional students. These results may not directly help your child today, but may benefit future
students. With your permission, I would like to ask your child to volunteer for this research.
Students volunteering in the study will have the opportunity to work with iPads in the art
classroom for the duration of the curriculum. They will be asked to complete a survey before and
after the five to seven week digital art curriculum, but, they will not have to answer any question
they do not wish to answer. The curriculum will be presented by your childs art teacher during
their regularly scheduled 40-minute weekly art class. The curriculum will take place from late
August to early October. Although the children will be asked to write their names on the
questionnaires for matching purposes, their identity will be kept confidential to the extent
provided by law. Student names will be replaced with pseudonyms and will not be used in any
report. Participation or non- participation in this study will not affect the childrens grades or
placement in art class or any other school programs.
You and your child have the right to withdraw consent for your childs participation at any time
without consequence. There are no known risks or immediate benefits to the participants. No
compensation is offered for participation. Results of this study will be available in late October
upon request. If you have any questions about this research protocol, please contact me at (727)
547-7668 or my faculty supervisor, Dr. Roland, at (352) 392-9165. Questions or concerns about
your childs rights as research participant may be directed to the IRB02 office, University of
Florida, Box 112250, Gainesville, FL 32611, (352) 392-0433.
Sara Gurney
I have read the procedure described above. I voluntarily give my consent for my child,
_________________, to participate in Sara Gurneys study of the effects of a digital art
curriculum for students with exceptional needs. I have received a copy of this description.
____________________________
Parent/Guardian
____________________________
2nd Parent/Witness

___________
Date
___________
Date

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Appendix C: Younger Child Assent
Hi, my name is Mrs. Gurney, Im from the University of Florida, and your art
teacher. Id like have you working on iPads in art class and ask you some
questions about art and how you like working with the iPads. Your
parent/guardian said it was OK. Well do this in your regular art class. Would
you like to volunteer for this study?

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Appendix D: Older Child Assent
Hello [childs name]. My name is Mrs. Gurney and I am a student at the
University of Florida and also your art teacher. I am trying to learn about how
students think, learn, and behave while working with iPads in art class. I will
be working with the whole class. If you decide to volunteer to participate,
you will be asked to do a series of art projects on the iPads, and answering
some questions about your feelings and emotions as well as displaying art
skills. We will spend about five to seven weeks on this during your regular art
class. There are no known risks to participation, and most students actually
enjoy working with the iPads. You do not have to be in this study if you dont
want to and you can quit the study at any time. Other than the researchers,
no one will know your answers, including your teachers or your classmates. If
you dont like a question, you dont have to answer it and, if you ask, your
answers will not be used in the study. I also want you to know that whatever
you decide, this will not affect your grades in class. Your [parent / guardian]
said it would be OK for you to participate. Would you be willing to volunteer
to participate in this study?

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Author Biography
Sara Conway Gurney attained her Bachelor of Science in Art Education from the
University of Central Florida in 2010. Gurney is currently an elementary art educator in Pinellas
County, Florida. Gurney enjoys giving the students the opportunity to affect the community,
innovate in the classroom, and express themselves through the learning process. Gurney involves
her students in a variety of art exhibitions annually. In 2012, she became the director of a large
origami installation project in the Gulf Coast Fishing Center and Interactive Museum. Her art
students were able to make over 250 art pieces that were hung from the 50-foot structure in the
main gallery of the museum. The structure, installation, and supplies were paid for with a district
teacher project grant awarded to Gurney, and was supplemented by a donation from the PTA
committee at the elementary school where she is employed.
Gurney is also a firm believer in technology in the art classroom. Currently, she is taking
part of a traveling district iPad lab. She has been able to enrich her curriculum with digital art
and design, and has a passion for giving her students innovative platforms to learn from.
Gurney is currently an Art Education Master's student at the University of Florida.
Currently she is working on her Capstone Project for the university, which involves the iPad
technology and curriculum design. Her prospective graduation date is December, 2015.
For more information visit Gurneys professional website:
www.saraconwaygurney.com

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Timeline
Choosingcommitteemembers,appointinga

April 1, 2015

chair
Completing an independent study

October, 2015

related to your research

Completing forms and applying for

May 11-15, 2015

permission to conduct your research

via the UF IRB
Getting email permission from your school

April, 2015 (preliminary)

August 2015 (implementation)

principal, or the administrator in charge of

any other site in which you plan to conduct
your research
Presentingyourresearchproposaltoyour

April 2015

CapstoneCommittee
Conductingyourresearch
August 24, 2015- October 16, 2015
TakingtheCapstoneResearchcourse

October 19, 2015- December 11, 2015

Defendingyourresearch

December 2015

Graduation

December, 2015